Group XlV No 191 



Price 10 cents 



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HOW TO PUNCH » 

^ THE BAG ^ 



YOUNG 
CORBETT 






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Fig. 1-CORRECT STARTING POSITION. 



Spalding's Athletic Library 
Group XIV if No. 191 



How TO Punch 
THE Bag 



BY 



Young Corbett 

With an Article on 

FANCY BAG PUNCHING 



NEW YORK 

American Sports Publishing Company 

21 WARREN STREET 
Copyright, 1916, by American Sports Publishing Co. 



Spalding's Athletic Library, » a \ 



(o 




Fig. a-STRAIGHT LEFT HAND-THE CORRECT WAY, 



BAG PUNCHING AS A BENEFICIAL AND 
ATTRACTIVE EXERCISE 



Many forms of exercise are indulged in by folk desirous of 
improving their physical condition, but none of them is more 
attractive and at the same time more beneficial than bag punch- 
ing. Here is a recreation, simple and inexpensive, awarding 
splendid means for the development of bodily powers, and in- 
dulgence in which, rewards with symmetry, grace and strength 
obtainable in no other way. 

Did you ever punch the bag? If so, you are well aware of 
the truth of the foregoing statements; if you never have tried 
this unsurpassed exercise, you have before you a pleasure as 
valuable as it is fascinating, and that is saying a great deal. 
One of the beauties of bag punching is that it may be indulged 
in by men, women and children alike ; another is that the ap- 
paratus is thoroughly adapted to use in any home, no matter 
how small — even if the prospective enthusiast lives in a hall 
bedroom in a city apartment, or in an attic room in some anti- 
quated farm house. 

As for the actual benefits to be derived from punching the 
bag — well, a book could be written on this subject alone. From 
the view point of the man who is lacking physically the exercise 
is nothing short of fondest imaginings of the idealist. 

Arms, shoulders, hands, wrists, the neck, and legs are brought 
into play individually and in combination in bag punching. Aside 
from the development in these parts of the body, the shoulders 
are made square and upright, the chest is broadened, the eye 
quickened, and the brain stimulated. The circulation of the 
blood in all parts of the body is vastly improved. The direct 
result is a new being for the bag puncher. He goes into na- 
ture's storehouse and by tendering exercise in payment, receives 
a supply of health and vigor, just as he would enter a shop and 
purchase a new suit of clothes in return for "coin of the realm," 

3 



Spalding s Athletic Library. 




Fig. 3-STRAIGHT 



Ji...,i^ iili. .U.ONG WAY. 



How to Punch the Bag. 5 

Does the end justify the means? Where is the person who 
would answer in the negative? He is as difficult to find as was 
of old the much sought for Philosopher's Stone, which, according 
to tradition, would transform into purest gold whatsoever it 
touched. 

Accomplished athletes, too, find value in the punching bag- 
Hundreds of them consider it indispensable in maintaining the 
muscles developed in other branches of sport. Inactivity, of 
course, is the bane of the athlete's existence. A month or two of 
idleness lamentably deteriorates the finest set of muscles that 
ever adorned a human frame, and boxers, gymnasts, foot ball and 
base ball players, etc., etc., have found the punching bag to be 
one of the best agencies obtainable for keeping themselves in 
condition, and in promoting agility and endurance. Then, too, 
the element of self-defence creeps in, and in fact plays a prom- 
inent part in the usefulness of the apparatus under considera- 
tion. The bag puncher finds that he can use his hands to advan- 
tage in emergencies. He is a dangerous man with whom to 
trifle. His self-reliance and confidence make him all the more 
strongly fortified. Boxers find the inflated spheroid invaluable 
in training and most of them are experts in the manipulation 
of it. 

The bag is a prominent object in the training quarters of every 
knight of the padded mitts. There never was a boxer or a 
fighter yet who has not used it, and used it but to praise. 

The use of punching bags has increased tremendously during 
the last few years. This fact in itself is significant, for the 
people of this day and generation are not prone to throw away 
time and money on worthless things. Popularity denotes merit 
invariably in these matter-of-fact twentieth-century times, 
whether persons, places or pastimes are concerned. In every well- 
equipped gymnasium is found at least one bag punching ap- 
paratus, and seldom indeed is the rapid rap-rap-rap of the 
bounding leather ball missing among the sounds familiar to 
the frequenters of buildings devoted to all-around recreation. 

Physical directors in athletic clubs, Young Men's Christian 



Spalding's Athletic Library. 




Fig. 4— straight RIGHT HAND PUNCH 



How to Punch the Bag. y 

Association "gyms," etc., state unhesitatingly that the punch- 
ing bag oftentimes brings them new members and that the 
interest of the devotees of this sport rarely wanes. In fact, 
"once a bag puncher always a bag puncher" may well be said to 
be the case. Just what element of this form of exercise is re- 
sponsible for its fascinations is difficult to determine. Whether 
it is the permissible unlimited pummeling of an imaginary an- 
tagonist; the realization of the benefits accruing from its use, 
or the rythm in the lively rebounding of the inflated bag, cannot 
be stated with any degree of certainty, but at any rate, the 
fascination is there, and he that seeks will find it. It lures the 
mere casual puncher on and on until he is as deeply engrossed 
in the sport as a school boy is in playing his first game of 
marbles. 

The writer has a friend, a New Yorker, who recently chose to 
had passed before his two younger brothers, aged seventeen and 
nineteen, began to endeavor to solve its mysteries. They were 
not slow in learning. Soon they monopolized the bag almost 
entirely. They rose early in the morning to take turns at 
punching it. They would hurry through their dinner in the 
evening to go at it again. My friend endured this state of 
affairs for about two weeks with nothing more than an occas- 
ional protest, but finally, however, was added the straw that 
broke the camel's back. 

One afternoon he left his business early and hastened home 
to have a half hour's practice without interruption. He knew 
his brothers would not be on hand at this particular time. En- 
tering the house, a familiar rapping, tapping sound smote his 
ears and there before him was his sister, about twenty years of 
age, pounding away like a veteran. My friend dropped into a 
chair, exclaiming, "Well, this is the limit." 

"But, Harry," was the fair culprit's response, "I've been doing 
this for days and days. It's the finest sport I've ever had, and 
what is more, I'm as good a bag puncher as you are." This 
last remark proved to be true, and poor, persecuted Harry was 
eventually forced to buy a bag for his sister, who, by the way, 



Spalding's Athtetie Library, 




Ff<5. ^-IMPROPER POSITION OF THE HEAD. ALWAYS WATCH THK 
BAG WHEN YpV ^^M^^ DO NOT LOOK AWAV. 



How to Punch the Bag. p 

afterward inducted several of her girl friends into the secrets 
of the art. 

And so the punching bag wields its magic power. Young 
and old, the fair and the unfair are drawn into the net, but hap- 
pily only to be benefited thereby. 

Noticeable features in the makeup of the bag puncher are the 
grace of his carriage and the uniformity of his development. 
No muscle seems to be abnormal and consequently unsightly. 
He is easily singled out in a crowd by his ease of movement. 
These attributes go to form personal attractiveness and magnet- 
ism, without which any man is handicapped, no matter what may 
be his occupation or station in life. The man with an air of 
energy and accomplishment is the one who impresses and com- 
pels. Should he lack these qualities a month or two of system- 
atic bag punching will supply them. 

The value of the strength and other physical assets given by 
bag punching cannot be overestimated. A man's greatest pos- 
session is his body, therefore he should seek to make it as close 
to perfect as possible. The weakling has no chance to win 
in the strenuous commercial, professional, social and political 
campaigns of to-day and the sooner this fact is realized the 
better. 



10 



Spalding's Athletic Library. 




Fig. 6— most DANGEROUS WAY TO PUNCH A BAG. NEVER STRIKE 
TOWARP A WALL. 



GENERAL HINTS TO PUNCHERS OF THE 

BAG, AND SPECIAL REFERENCE 

TO BEGINNERS 



Some experts attempt to say just how much a punching bag 
should be elevated or lowered. Each man, however, is the best 
judge for himself in reference to this matter. The spheroid 
should be allowed to swing freely and at the same time not so 
much as to cause it to rebound wildly. Your height and reach 
are to be considered in lowering or raising it. Do not punch 
the bag for a lengthy period without resting, at least until you 
are well advanced. At first, ten minutes' punching, with from 
three to five minutes' rest, will be found advisable. Later you 
can increase the length of your exercising periods until finally 
you will become almost indefatigable, unless you accelerate speed 
unduly. 

First learn to perform the different blows slowly and ac- 
curately. Form a style, just as you should do in boxing, run- 
ning or jumping, and stick to it so long as it is correct and 
adapted to your physical characteristics. Should you start in, 
while yet a beginner, to hit the bag rapidly — and most tyros are 
likely to commit this fault — you will surely lose accuracy and 
work into an improper style, which, as time goes on, and you 
still persist in it, will prevent you from ever becoming expert, 
or even passably proficient. An ounce of prevention is worth 
at least a ton of cure in this instance, so let speed alone until 
you are sure of yourself. 

Always clench your fist properly. Press the points of the 
fingers into the palms and keep the knuckles on a straight line. 
Unless you observe this rule closely a finger or two will in- 
variably project beyond the others, making likely dislocation or 
other painful and incapacitating injury. In addition an im- 
properly closed fist will send the bag out of its intended course, 
thus breaking up your exercise, making necessary a new start. 
Clench your fist as does a prize fighter when he dons the gloves. 

II 



Spalding's Athletic Library, 



Fie. 7— A VALUELFSS BLOW. 



How to Punch the Lag. 1 3 

You may or may not use bag punching gloves, as you choose. 
You had best procure a pair or two of them however, while 
learning the art. They will assist you materially in delivering 
even blows, but they will make your work somewhat slower than 
bare-handed tactics. After you have progressed, to some ex- 
tent, try punching without gloves. Your knuckles will suffer at 
first but finally the skin will become toughened so that you will 
not be inconvenienced. 

Your costume, if you punch the bag in a gymnasium, should 
be light, cool and unencumbersome. A sleeveless jersey and 
knee or full length tights, with either high or low shoes, will 
suffice. If you desire to reduce weight wear a sweater while 
at work. At home almost any kind of a costume will suffice. 
After exercising — if in a gymnasium — put on a sweater, or if 
you have enough work for the time being, take a shower bath. 
Begin with warm water, or hot if you desire, and finish with the 
coldest to be had, especially in winter weather take care to end 
a bath with cold water. It will close the pores of the skin and 
prevent you from being chilled when going into the brisk air. 
A spirited rub down with a rough towel, or if you so desire, an 
alcohol or a witch hazel rub, will make you feel as though you 
had quaffed of the water of the famous spring of eternal youth 
for which Ponce de Leon is said to have searched unavailingly 
in Florida a couple of centuries or so ago. 

Beginners should always be content to advance slowly, at 
least until the actual rudiments are mastered. Of course all 
ambitious youths desire to obtain the maximum of proficiency 
in the minimum of time. This is all very well, a very commen- 
dable trait to be sure, but remember that the lesson of modera- 
tion, while difficult to learn, pays in the end. You cannot learn 
to punch the bag in a week even though you neither eat nor sleep. 
Give me tv;o pupils, one careful, painstaking at the start, and 
the other self-willed and over-anxious, who practices a dozen 
different blows in as many minutes, and I'll wager every cent 
I. own that the first named will know more about the practice 
of bag punching in a month than the independent, variable, in- 
constant young man could show you in six months. * 



14 How to Punch the Bag. 

Another hint for beginners is that you should not set your 
heart on learning fancy blows too early in the game. They are 
splendid pastimes when the fundamental principles are thoroughly 
mastered and assimilated. They require advanced dexterity and 
understanding, also unceasing practice and study. When poorly 
executed — as is sure to be the case with novices — they fall so 
flat that spectators will consider you an amateur of the greenest 
sort. 

Learn to breathe regularly while punching the bag. Inhale 
and exhale at timed intervals, filling the lungs almost to their 
capacity on the intake, and expel the air without straining your- 
self. You can increase your chest measurements noticeably in 
a short time. By forcing too -much into your lungs suddenly, 
however, or exhaling too violently, you will become dizzy. So, 
therefore, develop your breathing capacity gradually. 

Do not exercise with heavy weights or other ponderous 
apparatus if you intend to become an expert bag puncher. The 
muscular fibre thus formed gives you coarse, binding tissues 
that will rob you of suppleness. Light dumbbells, light Indian 
clubs, from one to three pounds; chest weights, rowing ma- 
chines, etc., etc., are admirably suited to the bag puncher's needs. 
Hand ball, boxing, basket ball, etc., are excellent accompaniments 
to your athletic curriculum. 

Keep your finger nails trimmed moderately short, especially if 
you punch the bag without gloves. Sometimes the bag accident- 
ally strikes a nail and breaks it, causing a bothersome, painful, 
slow-healing wound, and at the same time making the fingers un- 
sightly. Do not punch the bag directly after a heavy meal. 
You will speedily induce indigestion by so doing. Unless you 
have eaten sparingly wait at least an hour and half after dining 
before beginning your work. 

Should you punch the bag at home and desire to go to bed 
on finishing, do not take a cold bath. Cold water will stimulate 
your system to such an extent that you will be unable to go to 
sleep readily. Instead, bathe in warm water, and do not rub 
yourself vigorously as such action will also prove stimulating. 



How to Punch the Bag, IS 

Mere!}' dry yourself so that you will not be absolutely damp, 
and then go immediately to bed. You will drop off to sleep 
without difficulty. An old German physician once told me that 
by prescribing this simple remedy he had cured scores of cases of 
insomnia. 



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Spalding's Athletic Library, 




FW, 8-A GOOD ONE-ARM EXERCISE, IN WHICH EITHER ELBOW 
MAV BE USSa 



HOW TO PUNCH THE BAG 



THE PROPER POSITION. 

(Fig. I.) 

When ready to punch the bag take a position that gives you 
ample place to strike it without straining or over-reaching. At 
the same time do not make the mistake of standing so close to 
it as to crowd yourself. Freedom and ease of movement are 
essential points to consider. Assume a fighting pose. Straighten 
your back, thrust your shoulders to the rear gracefully, raise 
your left hand to about the height of your chin, bring up the 
right to guard, clench your fist with the knuckles even, as 
previously instructed, and advance the left foot before the right. 
The position of the hands and feet should be altered to suit 
varying blows. Under ordinary circumstances hold in the point 
of the chin, just as in boxing. The differences in the posture for 
the various blows will be explained in the detailed descriptions 
which are to follow. 

THE LEFT LEAD. 
(Fig. 2.) 

The novice should begin his punching bag operations by learn- 
ing the two fundamental, and at the same time two simplest 
blows. They are the left lead and the right lead. As in boxing, 
both these leads are very important. We will consider the left 
lead first. 

Stand from two and a half to three and a half feet from the 
bag, which should swing on a level with the nose. Stepping 
forward as you would to deliver the 'same blow in boxing, lead 
directly with your left from the shoulder, hitting the centre of 
the bag. The head should be inclined slightly to the right to 
avoid a counter. Bring your right hand and forearm up across, 
and close to your chest, as defence against an imaginary return 



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Spalding's Athletic Library, 




Fig. 9-LEFT HAND HOOK. 



How to Punch the Bag. Ig 

blow, and put as much weight into the stroke as possible with- 
out throwing yourself off your balance. Gauge distance ac- 
curately. Quick as a flash spring back into your original position, 
with the left foot advanced as in boxing, and repeat the blow. 
Learn to hit with lightning rapidity, and to regain your position 
without the loss of a moment. Should you hit the bag a 
glancing blow it will come back at an angle to its rightful course 
and possibly hit the striker smartly in the face. If you have not 
hit it squarely, duck. The practice of ducking will also help you 
in learning to box. 

Of course if you hit the bag violently you will be unable to 
again strike it on the first rebound. Let it bounce, say, three 
times before repeating a blow. Thus you will have opportunity 
to develop accuracy and good form. By persevering in the prac- 
tice of the left lead, as is likewise true of all the other strokes, 
you can develop the blow into a very powerful form of attack. 

Many boxers are weak with their left. Ineffective jabs are 
the best results they produce with it. This shortcoming would 
speedily be remedied by the generous use of the punching 
bag. 

Hit the bag with the face of the knuckles and do not let 
the fist go wide like a swing — swings will be considered later. 

Make the blow clean cut, perfect in itself, putting the full force 
of the shoulder and back into it. Keep your eye on the ball, 
watching its every move and variation. Moreover, be sure that 
it is inflated to the limit. The punching of a flabby bag is about 
as much value as boxing would be with stuffed pillow cases 
taking the place of gloves. 

THE STRAIGHT LEFT LEAD— INCORRECT WAY. I 

(Fig. 3.) 

Many years of punching bags fall into an incorrect method 

of holding the fist as it strikes the bag. In illustration No. 3 

this fault is shown. By observing closely you will see that my 

left fist is turned so that the thumb is to the right, the palm 



^0 



Spalding's Athletic Library. 




Fig. 10— alternating SHORT RIGHT AND LEFT HOOKS. 



How to Punch the Bag. 21 

of the hand downward. Instead the thumb ought to turn up- 
ward, which action will place the knuckles toward the left, the 
clenched palm to the right. 

Blows delivered in a faulty manner of this sort lack force, 
and in addition in a ring contest would be very apt to expose 
your wrist to breaking. Hold your fist in this improper way and 
draw it well back as though you intended to land a heavy blow. 
You will immediately perceive that the position is awkard and 
that your shoulder is subjected to an unnecessary strain. Author- 
itative judges of pugilism, and boxers I have met in matches, 
say that I am a very hard hitter. The results of my battles 
would seem to indicate their opinion to be true, and I say un- 
reservedly that whatever ability I may have as a powerful and 
effective hitter is due to my learning to deliver blows in the 
best possible way, according to the requirements of good form. 
Accuracy is never a drawback to a boxer or a bag puncher. The 
turning of the palm downward also deprives the forearm of 
considerable of leverage and the practice will tell heavily against 
any man. On reading these words you may say, "This is all 
very well, but I cause the bag to rebound straighter by turning 
the palm to the floor." If you have learned this, the wrong way 
to punch, change your tactics instantly, no matter how agreeable 
they are to you. They will be satisfactory only temporarily at 
the best. Remember the words of the immortal Davy Crockett, 
when he said, "Be sure you're right, then go ahead." 

The foregoing criticism applies also to all other blows in 
the bag puncher's category. I merely chose the left lead as one 
instance among a great many. 

THE STRAIGHT RIGHT HAND PUNCH. 

(Fig. 4.) 

In the straight right hand lead, step out with the right foot, 

placing it about eighteen inches to the right, and about fourteen 

inches in front of the left foot. Hold the left hand in front of, 

and close to either the abdomen, chest or chin as a guard, and 



Spaldin^s Athletic Library. 




FiG.ll-HALF UPPii.K-i.Ui vviiH RIGHT HAND. 



How to Punch the Bag. 23 

shoot the right out snappily from the shoulder, hitting the bag 
squarely, as in the left lead. You can maintain this position and 
hit the bag repeatedly on say every third rebound, or else you 
may step back into your original waiting position after every 
blow. By the latter method you will obtain much valuable 
training in footwork. 

Footwork is one of the principal dependencies of the boxer, 
and anything that helps him develop his ability in this line is 
valuable. The straight right is one of the most powerful and 
effective blows that can be delivered by the human hand. Two 
handed fighters use it with telling results. The fact that its 
delivery leaves a man comparatively open to attack, however, 
makes it unpopular with some fighters. 

Throw your weight into this blow, just as you should in others. 
I would also suggest that you incline or duck your head to the 
left, not pronouncedly, however, to avoid what in boxing would 
be a counter. When you have mastered the details of the right 
lead, alternate it with the left lead, executing first one stroke 
and then the other. If the alternate movement seems awkward 
in the beginning, do not become discouraged, but persevere, and 
after a few trials it will prove very easy, and assuredly more 
interesting than either of the individual blows in themselves. 

AN IMPROPER POSITION OF THE HEAD, AND WHICH 

PREVENTS THE PUNCHER FROM WATCHING 

THE BAG. 

(Fig. 5.) 
In bag punching, as in all other pastimes conducted on a 
scientific basis, there are many things to avoid. One of the 
several points of this nature that I will mention in this book is 
the position of the head while in action. Do not turn your 
head completely away from the bag at any time for you will 
then be unable to watch it closely. Watch the bag continually, 
even as you would an opponent in the ring. Of course there are 
various occasions when you should duck, or otherwise avoid the 



Spalding's Athletic Library, 




Fig. 13-HALF UPPERCUT WITH LEFT HAND. 



How to Punch the Bag. 2% 

bounding ball, but unless you are striking the bag with the 
back of the head, KEEP YOUR EYES ON IT. Think what 
a beautifully small chance you would have in a boxing match if 
you turned your head away from your antagonst. He would 
land on you so quickly that you would not be likely to come 
back to earth for several minutes at the very least. Remember 
that every careless habit you form while punching the bag will 
surely follow you and handicap you when you don the mitts. 

A DANGEROUS PRACTICE— HITTING TOWARD A WALL. 

(Fig. 6.) 
Do not strike toward a wall when puching a bag. Should 
you do so and happen to miss the inflated object, your hand 
will strike the hard substance with a disastrous effect. I do not 
mean that you will damage some landlord's plaster or wooden 
partition — no, not for a moment. You will on the contrary 
lame your fist and indeed will be in great luck if you escape 
without fracturing a bone or two. The hands of the boxer and 
the bag puncher alike are his stock in trade. You have possibly 
observed that fighters, wrestlers, etc., take pronounced care of 
hands and fingers. To disable them will often mean bankruptcy 
and perhaps loss of prestige. 

A VALUELESS BLOW THAT SOME BAG PUNCHERS ARE 
FOND OF USING. 

(Fig. 7.) 
Oftentimes you will see a chap go to a punching bag, double his 
fists and press them close together, palms inward. He will then 
proceed to use: them as a battering ram to pound the bag violently. 
The bag rebounds, striking his two fists, of course, at the same 
time. What good is there to be derived from this maneuver? I 
will offer a prize of a package of Joss sticks to the first one 
sending me an answer that can be given serious consideration. 
There is not enough tax on any particular muscles to develop 
them. Neither does the "stunt" promote agility or quickness 



Spalding's Athletic Library, 




Fig. 13-FULL SWING WITH THE RIGHT. 



Htm to Punch the Bag, 27 

of any description. A'ou might as well take a potato masher and 
endeavor to murder a medicine ball for all the benefit you will 
get from it. 

A GOOD ARM EXERCISE IN WHICH EITHER ELBOW 
MAY BE USED. 

(Fig. 8.) 

A simple one arm exercise, which every beginner will par- 
ticularly appreciate, is shown in Fig. 9. To execute this stroke 
you must necessarily stand closer to the bag than in the right 
and left lead positions. Stand with the feet from six to twelve 
inches apart and on the same line. Raise, say, the right elbow, 
and strike the bag in the middle with its point. As the bag re- 
bounds, strike it again and again. At first the movement will 
be somewhat tiring, but not for long. When you have become 
proficient with the right elbow, try the left. You will need more 
practice than with the . right, to "educate" the left arm, unless 
you happen to be left handed, like a well-known humorist who 
once said that he was "only half right." After a week or two 
you will be considerably surprised at the power you will find 
yourself capable of putting into one of these elbow blows. 

After you have become adept in using your elbows singly you 
may then alternate them, just as I told you to do with the right 
and left leads. 

THE LEFT HAND HOOK. 
(Fig. 9-) 

Hooks are very valuable blows. They are used frequently 
with decisive effect b}^ boxers. They are delivered at close range 
and therefore should have great speed. Stand with the feet 
about fourteen inches apart and advance the left foot about six 
inches before the right. Bend the elbow sharply. Raise the fist 
to a point on a line with the left hip and pivoting on the ball of 
the left foot, keeping the right foot steady, as a brace, shoot the 
fist to the middle of the bag as swiftly as possible. Instantly 
bring the fist back and repeat. Hold the right fist in front 
of the breast or chin as a means of defence. The bag will be 



28 



Spalding* s Athletic Library. 




Fig. 14--RIGHT HAND SWING AS IT HITS THE BAG. 



How to Punch the Bag, 29 

sent in a slanting direction. The right hook should also be 
developed. It is delivered exactly after the fashion of the left 
hook. Put somewhat of an upward heave of the shoulder in this 
blow. As the fist lands, the elbow should not be entirely- 
straightened. It should be bent at an angle ©f about fifteen 
degrees. 

ALTERNATING SHORT RIGHT AND LEFT HOOKS. 

(Fig. 10.) 
Stand with the feet about sixteen inches apart and on a line 
with each other. Hold the shoulders and head well back. 
Raise the arms, with the elbows bent, so that the hands are 
even in height with the middle of the bag and each being about 
twelve inches away from it. Hit the bag in the centre with 
first one fist and then the other. Permit the bag to rebound 
but once after being hit. The exercise involved in this combina- 
tion blow is unsurpassed for the shoulders, chest and arms. You 
will be forced to bend your wrist downward to some extent as 
you hit the bag in this movement. Do not encourage this ten- 
dency. 

AN UPPERCUT WITH THE RIGHT HAND, AND UPPER- 
CUTS IN GENERAL. 

(Fig. II.) 

The uppercut resembles the hook. In the former, however, 
the fist is carried upward from a position closer to the body 
than is the case with the latter. 

Uppercuts should not be allowed to swing too wide. When 
about to execute an uppercut stand about fourteen inches back 
from the bag. Bend the arm at an angle of about ninety de- 
grees, and bring the fist up forcibly from a point below the 
hip and somewhat to the rear. Do not let the hand go far 
from the body until it is opposite the chest. In the right upper- 
cut, as you carry your hand forward and upward to deliver the 
blow, RISE ON THE TOES OF THE RIGHT FOOT, as I 
have done in illustration No. n. PO NOT FAIL TO HEED 



30 Spalding's Athletic Library. 




Fig. 15-HALF SWING WITH LEFT HAND. 



How to Punch the Bag. 31 

THIS INSTRUCTION, for by coming up on your toes you can 
put double the force into the stroke — enough in many cases to 
Hft a man of your own weight off his feet. Keep the left leg 
firm. You must use it to steady yourself, to aid you to gauge 
distance accurately. When delivering a left uppercut, follow 
the example of the golfer as he supports himself on his right 
\t% when he swings or drives. 

HALF UPPERCUT WITH THE LEFT HAND. 

(Fig. 12.) 
The half uppercut, as the title of the blow signifies, lacks 
the full power or field of action held by the full uppercut. The 
left half uppercut should start from slightly above and to the 
front of the left hip bone. The right half uppercut is executed 
vice versa. In other respects, these blows are similar to the 
right and left uppercuts. The left half uppercut is used more 
frequently than that with the right. While delivering a stroke 
of this sort with the left, hold the right across the front of the 
body, as I have done in illustration No. 12. Rise and pivot on 
the ball of the right foot, and in the right Lalf uppercut do like- 
wise with the left foot. 

SWINGS AND HOW TO DELIVER THEM EFFECTIVELY. 

Swings, as is of course well known, are blows of terrific force. 
When they take effect something is certain to happen. As these 
blows have a long distance to travel, they must be executed 
quickly to be of value. Fifteen minutes practice v/ith a bag 
every day for two or three weeks will enable you to swing in 
splendid fashion. You will be surprised at the number of times 
you will be able to land a swing on an actual opponent when 
you have perfected it. 

In swinging at the punching bag endeavor to be as accurate 
as possible. A wild swing is alwa3^s a menace to the man de- 
livering it, for it leaves him, what boxers would describe, as 
"wide open," Then, too, if you lunge wildly at the bag you will 
possibly miss it altogether, and thus lose your balance. 



;^2 Spalding's Athletic Library, 




Pig. 16-HALF SWING WITH RIGHT HAND. 



How to Pwuh the Bag, 33 

When delivering a full swing always remember to guard 
yourself with the disengaged hand. Coneider tlie bag to be 
a wary opponent who will at the first opportunity take advantage; 
of any opening that offers. By using your imagination in tbi*; 
way, you will find increased interest attached to your bag punch- 
ing operations. Naturally the violence of swings prevents you 
from repeating the blow until the bag has rebounded several 
times. Perhaps you may be forced to let it go back and forth 
four or five times before duplicating the stroke. 

THE FULL SWING WITH THE RIGHT HAND. 

(Fig.13.) 

To deliver a full right hand swing take the conventional spar- 
ring position, with the left foot advanced. Gauge accurately 
the location of the bag, and its distance from your right fist, 
which should be tightly clinched and held in front of the breast 
bone. 

Hold the point of the chin well in, and after deciding on 
just what part of the bag you will strike — preferably as close 
to its centre as possible — step in swiftly with the right foot, ad' 
vancing it far enough to place you within easy striking distance 
of the bag. Bring up the left fist to guard, as directed, and 
carrying the right fist well back and low, swing your right power- 
fully, in a half circle, landing on the bag with the impulse of the 
muscles of the arm, shoulders and back, combined with the 
impetus of your advance. Incline your head to the left. Hold 
your left fist in front of your face, as you would if an opponent 
blocked your right swing with his left and countered with a 
right swing, a hook or a jab. Do not throw the weight of your 
body forward past your right foot. If you do so, you will not 
be capable of springing out of harm's way, or in position to re- 
peat the blow without delay. 

. Set yourself firmly in delivering swings. I would suggest that 
you do not practice swings continuously for too long a time. Try 
them say for five minutes, then rest a few minutes, and begin 



Spalding's Athletic Library. 



Fig. 17— RlUxi. „.. IND BLOCKING RETURN 



How to Punch the Bag, 35 

again,. Three five-minute periods a day are sufficient. My rea- 
son i^yA so advising you lies in the- fact that these blows are 
tiring, and you will readily admit that when a man is fatigued 
he cannot maintain good form and accuracy. 

After learning the right swing practice the left. Advance the 
left foot instead of the right, and defend yourself with your right 
hand., ti-e while inclining your head and chest to the right. Left 
swings Tisually start from a higher point than do right swings, 
because the left shoulder is generally lifted above the right. 
The left swing is neither so powerful nor so important a blow, 
still it Vo used the more frequently because it is easier to de- 
liver. When you have become adept at both swings alternate 
them, stepping back into the sparring position after each stroke. 

THE PUNCHER'S POSITION AS HE STRIKES THE BAG 
WITH A RIGHT HAND SWING. 

(Fig. 14.) 
In illustration, Fig. 14, I exhibit the correct pose for the 
bag puncher as he delivers a right hand swing. Observe closely 
the poise of the body and how I have placed my feet. In actual 
fighting I would incline *to the left to a greater extent than shown 
in the photo. Be careful to clench your fist correctly by all means 
for in a heavy swing even the slightest twist may result in pain- 
ful injury. At the moment your hand hits the bag you should 
be at the extreme height of your speed. Concentrate every iota 
of energy into the blow and release it at the exact instant 
that your hand comes in contact with the leather. 



CONCERNING HALF SWINGS. 

Half swings are well described by their name. They might 
be termed full swings with their wings clipped. A half swing 
starts from a point about half way between the starting and 
finishing places of a complete swing. 

In the ring a half swing seldom if ever results in a knockout, 
therefore you may readily perceive that it lacks the force of 



36 



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Fig. 18-THE OVERHAND-SMOULD NEVER BE USED, 



Mow to Punch the Bag. 37 

the full swing, which is very true. It is used principally to tem- 
porarily bewilder a man and cause him if possible to leave an 
opening for a decisive punch. 

A HALF SWING WITH THE LEFT HAND. 

(Fig. 15.) 
In the delivery of a left hand half swing stand about a foot 
closer to the bag than you would in executing a full swing. 
Take the sparring position, holding the right fist in front of the 
chest or chin. Step in, and start your left fist from a point about 
a foot straight out to the left of your left hip. Swing it for- 
ward and upward in a half circle, hitting the bag with face o-f 
your clenched knuckles. Step, or better, jump ba-ck into your 
original position, and when the bag's rebounds have slowed 
somewhat, step forward and strike it again. The bag will bounce 
in a slanting direction, but it will not vary its course if you hit • 
it in the same spot each time. 

A HALF SWING WITH THE RIGHT HAND. 

(Fig. 16.) 
Reverse the instructions regarding the left half swing when 
executing the same sort of a blow with the right hand. The 
right half swing is more forcible than the left. Swing the 
body with the arm, turning at the waist, and do not overreach 
yourself. 

THE SHIFT. 

The shift is a movement that may be said to have received 
recognition in comparatively recent years. Fighters, old-time 
and modern, have used variations of it, but those of the latter 
days are responsible for its development to its highest form. 
Bob Fitzsimmons has frequently used shifts with "striking" 
effect. 

A shift, briefly described, is a feint, combiwed with a sudden 
changing, or shifting of position to either side, at the same time 
landing a blow. The impetus gained by the advancement of the 



38 



Spalding's Athletic Library. 




Fig. 19— another blow to be avoided-right hand uppercut, 



Bow to Punch the Bag, 39 

body makes the stroke a powerful one. A wide swing, a half 
swing, a hook* or a half hook, etc., may be feinted to aid in the 
execution of a shift, two steps forward are usually taken. 



THE SHIFT TO THE RIGHT AND THE POSITION FOR 
BLOCKING A RETURN. 

(Fig- I7-) 

There are two shifts, the left and the right. I will describe 
the shift to the right from which that to the left can easily be 
learned. To shift to the right, stand before the bag in the 
sparring pose, and not too close to it. Step forward briskly 
with the right foot, feinting a swing, or a hook, etc., with 
your right hand take another swift forward step, this time with 
your left foot and, bringing your right fist back to guard your 
face, swerve toward the right, bending somewhat, and as you 
set yourself on your left foot, land heavily on the bag with your 
left hand. * Here is another of the blows in which the forward 
rush of the body lends crushing force. As the fist hits the 
bag, your body should lean to the right so that an imaginary 
opponent could not counter with his left to any advantage. 

In shifting to the left, feint with the left hand, advance first 
the left foot, then the right, and bending the body to the left, 
land on the bag with your right fist, guarding yourself with your 
left. 

THE OVERHAND SWING— NEVER USE IT IN PUNCHING 
THE BAG. 

(Fig. 18.) 
Do not make use of the overhand swing in bag punching. This 
blow is an exaggerated chop and serves to no good purpose, ex- 
cept in some phases of boxing. It gives a twaug to the elbow 
that may result in a strain or a break, too. The stroke is awk- 
ward to deliver, and also makes difficult the landing of the fist 
squarely. 



Spalding' s Athletic Library. 




Fig. 30-RIGHT ELBOW EXERCISE. 



How to Punch the Bag. 41 

THE RIGHT HAND UPPERCUT— THIS BLOW ALSO 
SHOULD BE AVOIDED. 

(Fig. 19.) 
Never use the right hand uppercut in manipulating the bag. 
You will but develop an improper and weak delivery of this 
important blow. The best method of learning it is to practice it 
with a companion or a sparring partner, and using boxing 
gloves. 

ELBOW EXERCISES. 

Exercises with the elbows interject a new element of interest 
into the art of punching the bag. The elbows can be used 
singly, doubly, or in combination with the hands and even the 
head. These movements are particularly efficacious in, and recom- 
mended for, the development and raising of the shoulders. 
Athletic experts have devised dumbbell and Indian club maneu- 
vers, which they term "shoulder raisers." Never, in all my 
experience, have I heard any gymnasium director or physical 
culturist speak of the punching bag in this especial connection, 
yet I unhesitatingly pronounce it to provide, in the elbow ex- 
ercises, the best "shoulder raisers" in existence. 

RIGHT, LEFT AND ALTERNATE ELBOW EXERCISES. 
THE RIGHT ELBOW. 

(Fig. 20.) 
The manipulation of the right elbow alone is done as follows: 
Stand close to the bag and to the left of it with the feet about 
two feet apart, clinch the right fist tightly and raising that elbow, 
strike the bag in the middle, or just below this point. To make 
the elbow as sharp as possible, bring the hand up and in, holding 
it close to your right breast. Strike the bag again on its first 
rebound, and keep it going rapidly. You can vary this exercise 
by hitting the bag with all your might and letting it rebound 
two or three times before again striking it. Another variation 
is the hitting of the elusive ball with either side of the elbcw 



42 



Spalding's Athletic Library. 




Fig. 21-LEFT ELBOW EXERCISE. 



Ho-w to Punch the Bag. 43 

alternately sending it to the right with the under or inner side 
and to the left with the upper or outer side. This last move- 
ment is merely a little trick, pretty to watch and hear, but of no 
especial value. 

THE LEFT ELBOW. 

(Fig. 21.) 
Use the left elbow just as I have outlined the manipulation- 
of the right, sending the bag of course to the left. The variations 
are the same for the left. Stand to the right of the ball, only 
about a foot, however, when hitting with the left elbow. 



ALTERNATE ELBOW MOVEMENTS. 

After you are an accomplished puncher with both elbows, try 
alternating them. Stand almost directly under the ball, and so 
that when still, it hangs with its middle opposite your nose. 
Clench both fists, hold them up close to your chest, and hit 
first with the right elbow, then with the left. There will 
be two bounces between each stroke. Hit the bag with the right 
elbow to the right side of the apparatus ; as it comes back, let it 
go across to and rebound from the left side, when you then hit it 
with the left elbow. As you alternate upward and downward 
they will resemble the walking beam of one of the old Mississippi 
packets, but "don't you care." 

TATTOOS. 

A tattoo is a mode of striking a bag so that it will rebound 
rapidly, and causing the sound of the bouncing to be continuous 
and have rhythm. Many kinds of tattoos are at the command of 
the puncher. They are both simple and complex tattoos; in the 
latter, several different parts of the body being brought into 
play. 

In order to obtain the desired results, tattoos should be exe- 
cuted with dash and accuracy. The blows should be as uniform 
as possible in power unless certain strokes are to be accentuated 
in order to produce a studied effect. 

One of the chief values of strokes coming under this head 



44 SpaldUig's Athletic Library, 




Fig. 83-TATTOO WITH BOTH HANDS, 



How to Punch the Bag, 45 

IS the fact that they encourage, indeed almost invariably de- 
mand, the alternate use of at least both hands, and frequently 
call into action the elbows and sometimes even the head. Thus 
it will plainly be seen that tattoos develop a two-handed hitter, 
a kind of a man known among pugilists as a "two handed 
fighter." Also they help a man to strike with lightning like 
rapidity, and teach him to maintain a cool head under bewilder- 
ing circumstances. Not the least among the attributes of tattoos 
is their tendency to quicken the eye and the brain. 

TATTOO IN WHICH TWO HANDS ALONE ARE USED. 

(Fig. 22.) 

A popular form of tattoo is executed by standing directly in 
front of the bag, close to it, and hitting out straight in front, 
hitting the ball alternately with either hand. Keep the ball 
going rapidly, striking it squarely with the fist. Another tattoo 
somewhat similar to the foregoing is done as follows : 

Stand close to the bag and send it to the left with a short 
right hook. Do so again on the first rebound and repeat the 
maneuver a certain number of times. After using the right 
fist, alternate with the left, striking the same number of blows 
as with the right. If you choose you may begin by striking a 
single blow with the right, and then one with the left, inserting 
a series of consecutive right or left blows whenever you wish. 
The tattoo I spoke of in the opening sentence of this section 
was probably the foundation of all other strokes of this sort. 

A TATTOO WITH ELBOW AND HAND. 

(Fig. 23.) 
Stand slightly to the right of the bag and place the right 
foot in front of the left. Raise the right elbow and hit the 
bag so that it bounds forward and to the right in a slanting 
direction. Follow quickly with the left fist, on the first rebound. 
Alternate elbow and fist as swiftly as possible. After learning 
this combination of the right elbow and right fist, develop the 
use of the left elbow and the right fist. 



46 



Spalding's Athletic Library, 




^ FIG. S3— TATTOO WITH ELBOWS AND HANDS. 



tlo^v to Punch the Bag. 47 

HOW TO BEAT A TATTOO WITH BOTH ELBOWS AND 
BOTH HANDS. 

The elbows add complications to more alvanced forms of the 
tattoo. An effective manner of punching the bag with hands 
and elbows, and which appears to be three times more difficult 
than really is the case, I will now make known to you. Stand 
close to the bag, separating the feet, sideways, by about twenty 
inches. Neither one should project beyond the other. Hit the 
bag, say, with the left elbow, as it rebounds meet it with the 
right fist. On the next rebound let it swing to the opposite (the 
right) side of the apparatus. Meet the first rebound with the 
right elbow, the second with the left fist. On the next rebound, 
let the bag swing to the left side, when the same strokes are 
repeated, etc. 

Tattoos seem possibly of infinite variation. To add another 
to your list, insert a back hand blow, or better, tap, in the com- 
bination blow I have just described. By so doing you will 
have mastered what we might term a "triple tattoo." When you 
have hit the bag to the left with the left elbow, meet the first re- 
bound with a tap from the back of the left hand. Save the 
right fist for the second rebound. As the bag comes back from 
the right side the first time, jab it with the right elbow, fol- 
lowing with the back (or knuckles) of the right hand on the 
second bounce, the left hand then taking effect on the next 
rebound. The order of these blows will be as follows : Left 
elbow, back of left fist, right hand — these punches sending the 
bag to the left; to the right — right elbow, back of right fist, left 
hand. 

PUNCHING THE BAG BY MEANS OF THE HEAD, FRONT 
AND BACK. 

(Fig. 24.) 
The head may play an important purt in bag punching. It 
can be used alone in various ways, and also in combination. By 
punching or butting the bag with tht head, you will greatly 



48 



Spalding's Athletic Library, 



ll^W^ff ' ' ^*". "■J""'— ^ 


^ ^^^fl^^^H 










1 

«« 



Fio. 24~HITTING THE BAG WITH HEAD-FRONT AND BACK. 



How to Punch the Bag, 4g 

Mrengthen the muscles of the neck and partly those of the 
shoulders. In addition you will accustom yourself to receiving 
blows on the head to such an extent that when you encounter 
them in boxing they will be robbed of their intended effect to 
some degree. Therefore head punching may be said to serve 
a twofold purpose. 

Probably the best head movement is performed by standing 
directly under the bag and alternating forward and backward 
blows, in the first projecting the bag by means of butts with 
the forehead, and in the latter hitting it with t^e back of the 
head. When you butt the bag forward, let it rebound to the 
back of the apparatus. Then on its next rebound (the first from 
the rear) force it back again, and permit it to swing across 
to the forward side of the apparatus, so that it will rebound for 
another forehead blow. Try this maneuver a few times at first 
nnd gradually increase the number. Of course you should not 
wish to develop the neck to a marked extent. A neck with too 
much muscle is thick and unsightly, and is an undesirable pos- 
session for a man who is not a heavyweight pugilist of the 
slugging, unscientific school. 

You can also divert yourself by using either the forehead or 
the back head movement individually. The first named butt de- 
velops the throat muscles particularly ; the back head blow acts 
principally on the muscles extending between the back of the 
head and the shoulders. 

HITTING (OR BUTTING) THE BAG WITH THE SIDES OF 
THE HEAD. 

(Fig. 25.) 

To develop the muscles of the sides of the neck and the tops 
of the shoulders, stand under the bag and propel it first to the 
left with the left side of the head, then to the right with the 
right side, striking in both cases with the upper part of the 
head's side, if possible, well above the ears. 

This blow, enlarging and strengthening the muscles of the 
sides of tjhe neck, completes the list of best kinown head ma- 



Spalding's Athletic Library. 




Fig. 85-HITTING THE BAG WITH SIDES OF THE HEAD 



How to Punch the Bag. 5 1 

neuvers. It is practically needless to mention the fact that 
either side of the head may be used alone, just as in the case 
of the front and back blows. Do not try to produce any sort 
of a tattoo effect with the head, unless it is used in combination 
with the hands and the elbows, or both. The excessively rapid 
movement, or jerking, of the head is certain to induce dizzines;? 
and resultant discomfiture and inaccuracy. 

In all head blows that I have described and portrayed in the 
illustrations, keep the feet well apart so as to form a brace. Un- 
less you steady yourself in this manner you are absolutely sure 
to lose your balance. 

THE CORRECT METHOD OF ALLOWING THE BAG TO 
SWING PAST THE HEAD. 

(Fig. 26.) 

Whenever it becomes necessary to. let the bag swing past the 
head, do not drop, or squat, awkwardly under it. Ducking, 
of course, is permissible, and indeed advocated under certain 
circumstances. For ordinary purposes, however, keep the body 
erect, leaning forward a trifle, and inclining the shoulders 
(bending at the waist) and head to either side. Thus the bag 
will swing past your cheek. When leading with your left hand, 
invariably incline to the right By so doing you would place 
yourself out of harm's way to some extent in a boxing match. 
A right hand lead should be accompanied, or better followed, by 
an inclination to the left. Rise on the ball of the right foot 
as you incline to the left, keeping both legs straight (with stiff- 
ened knees). Come upon the ball of left foot in leaning to the 
right. 

Turn your face slightly away from the bag as it swings past 
your head, keeping your eyes on the bag however, 

DO NOT DROP BOTH YOUR HANDS TO YOUR SIDES AT 
ANY TIME. 

(Fig. 27.) 
Always be careful to keep your hands, whether partly opened 



Spatding*s Athletic Library, 




Fig. 26— correct WAY TO LET THE BAG PASS THE HEAD 



How to Punch the Bag r-? 

or clinched, raised as a possible means of protection. Never, at 
any rate, drop your hands and remain standing upright in the 
orbit of the bag. If you do, you are very likely to receive a 
painful blow in the face from the bounding bag, which I freeiy 
confess is no respecter of persons. A boxer who would drop 
both hands in the ring would meet with a sad and untimely end, 
therefore do not contract the habit in punching the bag. Re- 
member that for the time being the bag is an opponent, and one 
that demands the respect of its antagonists. He who takes liber- 
ties with the punching bag will one day do the same with a 
real, live member of the fistic brotherhood, and may I be spared 
the task of writing a description of the obsequies. 

THE INCORRECT METHOD OF AVOIDING THE BAG 
WHILE IT IS REBOUNDING. 

(Fig. 28.) 
In this pose I illustrate what not to do when the bag swings 
across from one side of the apparatus to the other. In addition 
to the awkwardness of your position and its pernicious effect, 
which I described in detail when referring to photo No. 26, the 
bag will oftentimes strike the top of your head in its passage, 
thjus throwing it out of its natural course, or stopping its prog- 
ress entirely. 

THREE SIMPLE WAYS IN WHICH THE BAG MAY BE 
MANIPULATED. 

Frequently a bag puncher wearies of the regularly prescribed 
blows, and takes a fancy to use an easy blow or two merely as a 
diversion to fill this need. I will now describe three strokes, 
A, B and C, that are as simple as can be desired. 

A— (Fig. 29.) 
Stand with the left foot advanced, the body slanting toward 
the bag. Strike with the left hand, sending the ball straight out 
in front. Hit it again with the left on the first rebound, and 
repeat the blow as many times as you like. 



Spalding s Athletic Library, 



O 




Sm 



Fig. 'ii—v\j i\ur Dkup yuUR HANDS TO YOUR SIDES AT ANY T 



IME. 



How to Punch the Bag. 5^, 

B-(Fig. 30.) 
Stand facing the bag almost squarely, possibly advancing the 
right foot atritle. Guard yourself with your left, and hit the 
bag in the same manner as I directed you to do with left in the 
punch immediately preceding this. 

C— (Fig. 31.) 

With the legs apart, stand about twenty inches away from the 

bag and strike it with short hooks, alternating the hands. Put 

the swing and weight of the whole body into these punches. 

Strike the bag as it is about to pass your face in its rebounds. 



^6 Spalding's Athletic Library. 




Fig. S8-NEVER DUCK THE BAG THIS WAY- 



A FEW WORDS REGARDING COMPETI- 
TIONS, EXHIBITIONS, ETC. 



The bag puncher that educates himself with the idea in view 
that he will some day participate in contests against other per- 
formers, or will use his ability for exhibition purposes, must 
pursue a course differing from that of he who exercises for 
physical betterment only. The man with future competition in 
view should have three v/ords to guide him at all times. They 
are accuracy, rapidity, and originality. Of the value and need 
of the first and second qualities I have already spoken in vari- 
ous of the foregoing pages. Concerning originality, I would say 
that every intelligent puncher of the bag can, if he but give the 
matter a little time and thought, develop new maneuvers, or at 
least, novel variations of old ones. A punclf or series of 
punches somewhat out of the ordinary, and well executed, in- 
variably has a favorable effect on judges. 

Do not, by any means, permit yourself to become nervous, 
that is, unduly so, or disturbed in any way, during a contest or 
an exhibition. Weakness of this sort will put you "off your 
feed,'^ and cause you to perform poorly. The deviation of a 
half inch, sometimes, in a punch, will throw you out of your 
stroke, and thus ruin the effect of an entire performance. 

The exhibitor and the competitor, in addition, should always 
have and use his own private apparatus. All the prominent punch- 
ers own their own bags, framework, etc., and in becoming accus- 
tomed to them, are capable of better work than on an apparatus 
open to general use. 

Make a point, too, of appearing in contests of any description 
in a neat, sightly, unencumbersome costume. Wear a sleeve- 
less jersey if you would command the free use of your arms. 

Do not attempt blows that are unreasonably fantastic. Fancy 
bag punching, of course, is a very admirable form of diversion, 
but there is a difference between fancy bag manipulation and 

57 



58 



Spalding's Athletic Library. 




Fig. 29— AN EASY METHOD (See Page 53— A). 



How to Punch the Bag, 59 

impracticable strokes that confuse in your mind whatever of 
merit you may already have learned. The practical bag puncher 
is one who- does not waste time on exercises that are intensely 
intricate and that develops no particular muscles. He is also 
a person who, as a rule, can readily explain in accurate detail 
the blows he has mastered. 

Do not punch the bag in a mechanical, monotonous sort of 
manner. Have a clearly defined reason for every move. Study 
the principles of cause and effect as applied to the puncher's 
realm of activity. There are bag punchers of my acquaintance 
that have more than ordinary control of the bounding, bouncing 
ball. They can interest and amuse even some of the most criti- 
cal experts. Yet, these selfsame individuals could not, for a 
full grown fortune, analyze any but the more simple blows. They 
know what they do, and when they do it, but as for how and 
why, well, that is a different matter. They are visionary, im- 
practical folk, who will never advance beyond a certain point. 
After learning to execute a certain blow with one hand, repeat 
it with the other, as I directed in many of the preceding para- 
graphs relating to individual blows. Learn to perform the blow 
backward, if possible, and by so doing you will understand 
it the better. Every punch is made up of separate parts. In 
combination blows they are multiplied. Learn to know these 
component movements when you see them. 

GOOD FORM AND HOW IT AFFECTS THE BAG PUNCHER. 

How often we hear the term, "good form." In every branch 
of athletics it is applied in various ways, in every day life .. 
comes into play, and in fact, every imaginable phase of existence 
the expression has its office. Good form is a merging under one 
head of good taste, observance of custom, propriety, and a gen- 
eral gracefulness of carriage and manner. The bag puncher 
who is in "good form" believes in being gentlemanly under all 
circumstances and in conforming to such regulations as govern 
his place of exercise. If in a gymnasium he will ceaie work 
after a period, to permit some other aspirant to practice. He will 



6o 



Spalding's Athletic Library. 




Fig. 80- another BASY METHOD (See Page 55— B). 



How to Punch the Bag. 6l 

not belabor the bag with powerful blows that make terrific noise, 
when people near find such interruption unpleasant, and he will 
not boast of superior accomplishment to such an extent that 
hearers will consider him a "blow hard" and an unmitigated 
bore. Let someone else sound your praises if you deserve them. 
The "good form" puncher is also one who gives careful atten- 
tion to his dress. He is near and trim, a pleasure to the eye. 

In actual punching good form consists in maintaining absolute 
correctness in delivering strokes. The pose of the body 
will be one of ease. An idle hand or arm will be held in a posi- 
tion in harmony with the punch under consideration. Elbows 
will not project to the side unless they should. Knees will bend 
only at the proper intervals. The back and shoulders will be 
held erect when required. In fact, the smallest evidence of care- 
lessness, or slouchiness will detract from what constitutes this 
highly to be desired ensemble of correctness — good form. 



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Spalding's Athletic Library. 




Jb 10. 31— SHORT RIGHT AND LEFT HOOKS (Sbe Page55-C). 



"FIGHTING THE BAG" 

AN ATTRACTIVE, HYGIENIC AND STRENUOUS FORM OF DIVERSION 
WITH THE PUNCHING APPARATUS. 



When a man has obtained what might be termed a "working 
knowledge" of bag punching, he may then indulge in an ex- 
tremely fascinating and at the same time body-improving inter- 
change of blows. The particular feature I have in mind is what 
pugilists call "fighting the bag." 

In fighting a punching bag you conduct yourself exactly as 
you would if pitted against a boxer in the ring. You lead varied 
blows, blocking, ducking, and sidestepping the bag in its re- 
bounds, and following up your leads with additional punches. 
Even a momentary consideration of this scheme will show the 
reader that striking (I do not use this word in the sense of a 
pun) possibilities exist in it. You can form endless variations, 
bringing every imaginable sort of a blow into play, in widely 
differing combinations. Ten minutes' practice twice a day in 
fighting the bag will produce wonderful advancement in your 
ability in the course of a month, and moreover, you will thus 
place at your command a highly attractive means for entertain- 
ing your friends, and for displaying your powers in exhibitions. 

The average bag puncher pays little if any attention to fighting 
the bag, except with a succession of blows of the same descrip- 
tion, or by repeating indefinitely the same punch. He thereby 
makes a mistake, which I sincerely trust the readers of this book 
will not imitate. 

The seeming lack of system which attends the fighting of the 
bag in true pugilistic fashion does not necessarily offer an excuse 
for a puncher to deteriorate in form. While it is true that the 
use of a variety of blows in quick succession naturally tends to 
take the finish and accuracy from a man's work, yet you will 
find that by keeping your mind intently on what you are doing, 
and by beginning slowly, gradually warming up to the climax, 
you will be enabled to maintain an acceptable degree of meritori- 
ous and uniformly effective execution. 

63 



6^ How to Punch the Bag, 

Of course I might continue under this subject and outline cer- 
tain combinations of blows that I have used to advantage in 
fighting the spheroid. The best plan, however, will be to omit 
doing this, and thus make each individual puncher responsible 
for his own system, in this case. Originality will thus receive 
needed encouragement. 

ALWAYS PRESERVE YOUR BALANCE. 

While in the previous pages of this book I have occasionally 
mentioned the subject of balance, I wish to take this oppor- 
tunity to consider it more fully. You should always bear 
in mind that the boxer who becomes easily unbalanced is one 
whose finish is approaching with fateful rapidity, and deter- 
mine that you will never develop this weakness in punching the 
ball. 

Whenever you strike be sure that your feet are so placed that 
either one or both will effectively brace j^our body as your hand 
and arm reach the outward limit of a punch, or as you lunge 
forward with the head and chest. In ducking, shifting and 
sidestepping, too, balance should receive unstinted consideration. 

Balance, and by this I mean perfect balance, is as important 
to the puncher as a rudder is to a ship. If you deHver a blow 
and wobble on your legs like a weak-kneed old victim of dip- 
somania, you will present an inspiring sight, won't you? Specta- 
tors will be apt to remark "Huh, that fellow punch the bag; 
why, he hasn't learned how to stand yet." 

Faulty balance is generally the result of either of two things, 
wild, cyclonic blows, and an improper position of the feet. 
Do not swing your arms wildly, because, in addition to throw- 
ing yourself out of balance, you are also left wide open for what 
in boxing would be a return blow ; never hold your feet too 
close together. You will become unsteady and will resemble a 
tin soldier if you do. At the same time, always bear in mind that 
the height of awkwardness is shown by spreading your feet too 
far apart. There is a happy medium. Find it, and do not dis- 
regard it. 



VALUE OF GAUGING DISTANCE 

Hundreds of athletically inclined young men who would other- 
wise develop into successful bag punchers and boxers are dis- 
tinct failures because of their inability to gauge distance. The 
winning boxer is always a good judge of distance; bag punch- 
ers devoid of this attribute which, in fistiana might well be 
termed the sixth sense, never graduate from the novice class. 

Gauging distance is, in bag punching, the act of estimating to 
a nicety the amount of space through which your fist must 
travel in order to hit the ball on a certain spot, and also of 
calculating accurately the direction the bag is swinging in, or the 
position or location in which it will be when your fist meets 
it. A sharp, quick eye and a keen, analytical mind are required. 

As the ball bounds into position for your blow, gauge the 
distance, measuring in your mind the length of your reach and 
determining whether or not you will bend your body forward 
during the punch. Then shoot your hand out, completing the 
stroke, and maintaining your balance. Balance and distance 
gauging are the twin brothers of boxing and ball pounding. 
Each depends on, and works in harmony (at least so they 
should), with the other. 

The object of distance gauging is to enable you to deliver a 
blow so that it will strike the objective point at the one moment 
when all the influences concerned are working together, are 
concentrated. The impetus of the body, the swing of the arm, 
the final compressing of the fist and the defence with the free 
arm and hand, should all be combined at the same instant, and it 
is at this psychological moment that the punch should take 
effect. 

Gauging distance, too, is of use in defensive, as well as in 
offensive work. An accurate estimate of the course of the bag's 
swing, or of its variations, and in boxing, a calculation of an 
opponent's length of reach under varying conditions, etc., etc., 
often enables one to avoid a return by a simple inclination of 
the head, or a slight bend backward. Under the same circum- 
stances, the novice would probably have jumped desperately 
backward, or lunged clumsily to one side or the other. 

6S 



FANCY BAG PUNCHING 

BY GUS KELLER, OF NEW YORK, UNBEATEN AS THE WORLD'S CHAMPION 

AMATEUR BAG PUNCHER, AND NOW HOLDER OF THE 

world's PROFESSIONAL CHAMPIONSHIP. 

Fancy bag punching is very different, in some respects, from 
the ordinary, and what might be named the practical mode of 
manipulating the bag. While the last-named branch of the sport 
is designed to develop boxing ability, and promote the strength 
of the body, the fancy or purely exhibition branch does not aid 
the boxer to so great an extent, being more than anything else 
a means of specializing the punching of the bag as a science in 
itself. Moreover, it develops agility and rapidity in the move- 
ment of the hands and arms rather than well developed muscles. 

Exhibition punching requires arduous study, constant prac- 
tice, in fact, everything that is meant by the expression, "unceas- 
ing devotion." A few days of idleness is as fatal to dexterity 
as a month of disuse would be to a pianist's fingers. 

The intricacy of some of the punches will at first seem ap- 
palling. An analysis of them, however, will speedily dispel most 
of the clouds. It is my purpose in this article to explain a few 
of the most attractive blows, and which can be added tc the 
athlete's repertoire without considerable difficulty. 

The history of exhibition bag punching in this country does 
not carry one back a great many years. Like the practical branch 
utilized by boxers, it is of comparatively recent development. At 
the present time, actual competitions are few and far between. 
The experts are scattered over wide territory, living in dnTcrent 
States, and as prizes offered by promoters are seldom worth 
traveling a long distance to contest for, interest in matches is 
not wildly aroused. For instance, during the last decade, na- 
tional championship matches for fancy bag punchers have aver- 
a'ged less than one a year, and it is a pity that enthusiasm has 
not been stirred by people who could, if they would, put the 
pastime on a regularly organized basis. The offering of suit- 
able prizes for contests to be held under reputable management 

66 



How to Punch the Bag. 67 

would result in returns that would be a genuine surprise to all 
concerned. There are hundreds of able punchers, who have 
spent years in perfecting themselves, who would gladly sign to 
compete under favorable circumstances. 

During these days fancy bag punchers in the professional divi- 
sion, find their principal revenue to be derived from vaudeville 
theatres and appearances at entertainments, club smokers, etc. 

The variations to which exhibition punching is susceptible 
are innumerable. When the combinations with one bag have been 
exhausted, you may introduce two bags, then another, and again 
a fourth. These may be kept in motion with the use of the feet 
or knees, in addition to the hands, elbows and head, until the 
performer resembles a double- jointed jumping jack with the St. 
Vitus' dance throughout his entire system. In the illustrations 
to which I will refer in pages to follow, I will describe the simul- 
taneous use of two and three bags. 

Interesting and perhaps fascinating to watch, the operations 
of the fancy bag puncher are also entertaining to the ear. Musi- 
cal effects of various descriptions can be produced, and it is 
really surprising to learn how much rhythm and expression can 
be made evident in the rebounding of the ball. Tunes familiar 
to the hearers, can readily be recognized. "Yankee Doodle" 
and other simple airs are possible of amusingly realistic reproduc- 
tion. 

The floor bag which I show in several illustrations, is my 
own idea and invention. It may be used alone, or in combina- 
tion. I use it with two high bags, sometimes, and again with one. 
Also, as you will observe by examining the photos, I use in 
conjunction with another floor bag. One of the advantages of 
the floor bag is that it brings different muscles into afction from 
those engaged by the best known sort. The back and legs receive 
exercise impossible to be had in the pounding of the bag sus- 
pended from a ceiling. The floor bag may be hit with the 
hands, the elbows, the knees or the feet, singly or in com- 
bination. 



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Spalding's Athletic Library. 




How to Punch the Bag. 69 

THE SINGLE FLOOR BAG— THE SIMPLEST OF FLOOR 
BAG EXERCISES. 

The fundamental floor bag punch is the use of the single bag 
with both hands, driving it first to one side and then to the other, 
using the hands alternately. Stand about eighteen inches away 
from the bag, spread your feet as far apart as possible and 
straighten your legs, not allowing the knees to bend in the slight- 
est degree. At first this position will strain the ligaments at 
the back of the knee joint and put considerable pressure on the 
muscles of the calves of your legs, but practice will overcome 
this discomfort and any others that may arise. Bend at the 
waist, and after putting the bag in motion by slapping it to 
either side with the opened palm, strike the bag say first with 
the right fist causing it to hit the floor at your left. Let it re-' 
bound to the right and as it rises from the floor send it to the 
right with your left. Do this about ten times on your first trial,' 
increasing the number of punches as you progress. You can vary 
this maneuver by hitting the bag quite hard and letting it re- 
bound two or three times before repeating your stroke with the 
other .hand. The bag is held to the floor by means ot a swivel 
and short piece of strong cord or rop^ 

A SINGLE FLOOR BAG EXERCISE IN WHICH BOTH 

HANDS, ELBOWS, AND SOMETIMES TH^ 

HEAD ARE USED. 

(Fig. 32.) 
The floor bag movement I will now describe is somewhat in- 
volved, especially for those that have not yet entered the expert 
class. Let the cord to which the bag is fastened have about 
three inches play. This amount of slack, by the way, will be 
found ample for every floor bag exercise. After starting the ball 
in motion, hit it to the left side with the left elbow, meeting it 
on the first rebound with the back of the left fist. From the 
rebound, let the ball bounce over to the right side, and after 
striking it on the first rebound with the right elbow, return 



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Spalding's Athletic Library. 




Hov( to Punch the Bag. 71 

it to the same side with the back of the right fist.^^ After strik- 
ing the bag with either of the back hand blows, you can meet 
the ensuing rebound with the head if you desire to insert a 
variation, returning the bag to the same side from which it 
rebounded, of course. 

The head variation, however, should be tried only after the 
combination elbow and hand blow has been placed under perfect 
control. 

The muscles of the back, shoulders and neck receive excellent 
exercise in the foregoing maneuver and such as they will get in 
no other form of bag punching. The hips will also be broad- 
ened and the strain which the position places on the ankles will 
strengthen those much neglected joints. Be sure to have your 
arms and shoulders absolutely free from all cumbersome cloth- 
ing. Loosen your belt if you are accustomed to wearing it tight. 
Its pressure as you lean over will contract your abdomen and 
thus interfere with your breathing, and which is hindered by the 
position you are in, even under the most favorable circum- 
stances. This pose in itself is extremely tiring, particularly at 
first, and therefore do not overtax your strength. Your blood 
may rush to your head somewhat until you are accustomed to 
the attitude, but practice will enable you to perform these blows 
without the slightest inconvenience. 



PUNCHING TWO FLOOR BAGS AT ONCE. 

(Fig. 2,^.-) 
I invented the floor bag about three years ago and afterward 
saw the possibility of using two of them simultaneously. In 
illustration No. 36 I show what is considered the easiest mode 
of operating the double floor bags. I place the balls about two 
feet apart and stand about eight inches back from them. The 
legs must be stretched as far apart as the human frame will 
permit. Keep the knees rigid. Strike the right hand ball with 
the right elbow ; the left hand one with the left fist, making both 
of them swing to the right. 



1^ 



Spalding's Athletic Lihraty, 




1— Punching a Floor Bag with Feet and Hands (Fig. 37). 
2_PuNCHiNG A Floor Bag with Soles of Feet (Fig. 38). 
3— Rotary Bag, Using Elbows and Hands (Fig. 39). 
4— Punching a Floor Bag with Feet and Hands (Fig. 40), 



How to Punch the Bag. jt^ 

I do not let the double floor bags rebound far from the floor. 
I repeat the blows when they have risen but a few inches, say- 
six or seven. 

When tired of bunching the floor bags to the right, raise your- 
self and allow them to bounce over to the floor at the left. Now, 
on the first rebound, hit the left bag with the left elbow, instead 
of the left fist, as before, and punch the right hand spheroid with 
the right fist. If you like the idea you can alternate the direc- 
tion of the bags from left to right, hitting them both in one 
direction, and then in the other. 

Then too, the elbows may be introduced, using one elbow 
alone, on one ball, and an elbow and the back of the same fist, 
on the other, etc., etc. 



MANIPULATING SIMULTANEOUSLY A SINGLE OVER- 
HEAD BAG AND A KNEE BAG. 

(Fig. 34.) 

The possibilities for all around development in bag punching 
are admirably illustrated by the fact that the science permits 
of the operation of a bag with the hands at the same time the 
knees are keeping one in motion. During this exercise hardly a 
muscle in the entire body remains idle. 

To perform this "stunt" put the floor bag directly under the 
overhead spheroid as shown in the photo (Fig. 34). Place your 
feet on either side of the floor bag with about six inches of 
space separating them. As your legs form an angle your knees 
will be about four inches apart. 

Strike the overhead bag with the right fist, sending it to the 
left. At the instant your fist leaves the bag, bend sharply at the 
knees, hitting the lower bag with the bones of the legs just be- 
low the knee cap. As the upper bag comes back let it go to the 
right side, to which it is returned with the left fist on its first 
bound therefrom, not forgetting of course to continue bending 
at the knees to keep the lower ball in motion. 

After the upper bag is returned to the right with the left fist 



74 How to Punch the Bag, 

let the bag go to the left again, returning it to the same side 
with the left elbow, arid to the same side again with the right 
fist. After this last blow, let the spheroid bound to the right side, 
where on the first rebound the right elbow returns it, only to be 
followed with another punch to the right with the left fist. 

Continue the right elbow and left fist, and the left elbow and 
right fist combination blows in conjunction with the knee strokes 
for from four to eight minutes, unless you feel capable of pro- 
longing the periods. 

The variations of which the combined knee and overhead bags 
are possible are also of great number, several of which are pos- 
sibly simpler than the foregoing. 

With practice you can alternate the knees in using the floor 
bag. The right knee will slant the bag somewhat to the left, 
as the accurate hitting of the rounded surface of the knee is 
necessarily difficult. The left knee will incline it to the right. 
The amount of variation from a straight line, however, will not 
interfere materially with the performance of the blows, as the 
knees can be moved a trifle as they are bent, to counteract the 
deviation. It will not be advisable to alternate the knees while 
using the overhead bags at the same time as the complication 
of movement will render good results well nigh impossible. 

Use the floor bag alone when alternating the knee strokes. 
If you hold your hands behind your back in this latter exercise, 
with the elbows projecting at either side, you will present an 
appearance better than that resulting from the holding of the 
hands as your sides, with the arms dangling loosely. In addition 
you will be aided in balancing yourself. 



THE SIMULTANEOUS PUNCHING OF TWO BAGS OVER- 
HEAD. 

(Fig. 35.) 
With two bags arranged overhead, as in illustration No. 2>Z* 
you can use many variations. The exercise I have posed for is 
comparatively easy for any person with a keen eye and a "cool" 



How to Punch the Bag, 75 

head. Stand close to the bags with the left foot advanced before 
the right to a point directly under the bag that swings to your 
left. Face directly to the front, a trifle to the left of the right 
hand bag. Hit the left bag with the left elbow, at the same time 
striking the other with the outside of the clenched finger joints 
of your right fist. Do not bend >our fist to hit with the 
broad face of the knuckles as you would in bbxing, for you will 
lose time by so doing. Keep both bags bounding to your left, 
hitting each at exactly the same moment. 

If you wish you may let them bounce over to the right side 
and then keep on returning them to that side hitting the right 
hand bag with the right elbow, and the left bag with the outside 
of the clenched finger joints of the left first. As the bags 
change over to the right, shift your position, advancing the right 
foot before the left, under the right hand bag. The puncher has 
a dull brain indeed who cannot invent at least a half dozen dif- 
ferent ways in which to punch these two bags. 



PUNCHING THREE BAGS AT ONCE— ONE FLOOR BAG 
AND TWO OVERHEAD. 

(Fig. 36.) 

Here we are confronted by a proposition that is more spec- 
tacular by far than difficult, even though appearances may indi- 
cate that an unusual amount of trouble and time should be ex- 
pended in the perfecting of it. To learn the mode of punching 
three bags simultaneously, one at the knees and two to be 
manipulated by the hands, requires patience, and dogged de- 
termination, that's all. 

Stand with the feet as close as possible to the swivel to which 
the knee bag is connected. This bag should be placed at a point 
in the floor exactly between the two upper bags. Hold the 
body perfectly erect between the two bags swinging from the 
top of the apparatus. Bring up the arms and bend the elbows 
at angles exactly corresponding, so that the hands will be close 
to the face, and about on a line with the chin or the middle 



*](> ^ How to Punch the Bag. 

of the bags. Strike outward with each fist, hitting each upper 
bag in its middle, and just after the blows land, bend sharply at 
the knees, striking the lower bag with both knees at the 
same time. Straighten your knees as quick as a flash so as to 
be in an upright position to repeat the first blows on the over- 
head bags. Repeat as many times as you feel you can stand 
comfortably. 

Be very particular about the manner in which you hold your 
hands and in which you deliver your punches. Do not strike 
the upper bags with either the front or back of the fist. Hit 
them with the ends (sometimes called sides) of your clenched 
hands, the surface formed by the clenched little finger and the 
fleshy pad between the outside knuckle of this finger and the 
outside wrist bone, in short, the end (or side) opposite the 
thumb end (or side). 

This mode of striking is not practical for other purposes. It 
is never used in boxing, but it is indispensable for certain blows 
in fancy bag punching. In this form of the sport, expediency 
must necessarily be given precedence above all other things. 
Whatever is practical for the fighter, but not expedient for the 
bag puncher, must be given but secondary consideration here, 
consequently the boxer is just as well, if not better, off if he 
leaves the exhibition end of the game out of his reckoning. 

Variations are again possible in the three bag movements. I 
will not attempt to enumerate or describe them, however. It 
will be a very easy matter for any puncher to find them for 
himself. I will leave them to his ingenuity. 



PUNCHING A FLOOR BAG (SITTING), USING THE FEET 
AND HANDS. 

(Fig. zi-) 

Sit on the extreme edge of a chair which has been placed 

about a foot back from the floor bag. Lean forward and start 

the ball bounding straight before you, hitting it alternately with 

the hands. When you have it bouncing in a satisfactory fashion, 



How to Punch the Bag. "jj 

not too swiftly at this juncture, alternate the feet with the hands. 
Strike first with the right hand, then with the right foot; fol- 
low with the left hand and the left foot. Vary the exercise by 
changing the order in which you use your hands and feet and 
the number of times they are brought into play. 

Balance yourself by touching the floor with the free foot be- 
tween every blow. This maneuver is exceedingly fatiguing. A 
few minutes a day will suffice for even the most ambitious per- 
formers. 

A single foot and a single hand can be used in combination to 
advantage. Do not at any stage bring the toe of either foot in 
contact with the bag. By so doing you will cause it to take a 
sudden jump that will throw you out of your stroke and destroy 
whatever rhythm you have succeeded in putting into the series 
of blows. Naturally a kick will give a bag more impetus than a 
careful tap with the sole of the foot. 



SITTING AND OPERATING A FLOOR BAG WITH THE 
SOLES OF THE FEET. 

(Fig. 38.) 

On reading the heading of this section of the book, some of 
the uninitiated may imagine for a moment that the exercise to 
be considered is one that will give them a chance to rest. They 
will probably believe it to be a lazy man's task. Do not let any 
such idea linger in your brain for a hundredth part of a second. 
True, the bag puncher will now sit down to his work, but when 
he finishes, he is fully aware of the fact that there has been 
"something doing." 

The calves of the legs and the ankles will be strengthened 
somewhat by this exercise in which the floor bag is kept in mo- 
tion by the soles of the feet. Place a chair at such a distance 
from the bag that your feet will project about fourteen inches 
beyond the swivel when the legs are straightened. Draw up the 
knees, and while bracing the body with the hands grasping the 
seat of the chair, as in the illustration, hit the ball with one foot 



7§ Ifow to Punch the Bag. 

and then the other. The part of the sole of the shoe covering 
the ball and toes of the foot should come in contact with the 
bag. 

Bend the ankles during the exercise. Do not let all the im- 
pulse come from the knees. Avoid hitting the bag with the 
heels. Brace your back firmly against the back of the chair. 
Throw your shoulders well to the rear. Hold your chin in and 
watch the bag closely. Very the movements by sometimes hit- 
ting the bag with a single foot continuously. 



A BAG PUNCHING NOVELTY— THE ROTARY BAG, WITH 

WHICH THE ELBOWS AND THE HANDS, SINGLE 

OR IN COMBINATION, ARE USED. 

(Fig. 39-) 

'f he rotary bag makes necessary a new sort of apparatus, simi- 
lar to that shown in illustration No. 41. However, on trying the 
innovation, experienced punchers will find themselves anxious 
indeed to expend the small sum required to procure it. 

In the use of the rotary bag the hands alone, the elbows alone, 
or both hands and elbows can be brought into action in several 
combinations. 

The rotary apparatus consists of three pieces of ordinary gas 
pipe joined as shown in the aforementioned illustration, and each 
of which should be about two feet long. Small wire cable 01 
strong rope can be extended to four eyes fastened in the floor 
in the same manner as shown in the photo, form satisfactory 
''stays." 

The bag is suspended from the middle of the top section of 
pipe — the cross piece. The cord to which it is attached is looped 
around the pipe, thus affording a connection permitting rapid 
rotation. 

To punch the rotary bag start it going with the hand, say 
from left to right. It must not touch the floor. As the bag 
swings under the cross piece and upward to the right, meet it 
with the right fist. Hit is rnod^-atel^ at first. Let it spin around 



How to Punch the Bag. 79 

two or three times. Then meet it with the left fist, sending it 
whirling round and round in the opposite direction. Follow the 
left fist punch with a right elbow blow, and vice versa. You 
can let the bag swing around more than the three times or less, 
as you think best. Then again, you can punch it back and forth, 
using the hands alternately, without making use of the elbows, 
or you can let the elbows do all the work. 

To those never having used a rotary bag, the illustration, of 
which these paragraphs are descriptive should be the subject of 
careful study. 

STANDING AND KEEPING A FLOOR BAG IN MOTION 
WITH FEET AND HANDS. 

(Fig. 40.) 

To add another punch to the list of floor bag variations, stand 
with the feet directly against the swivel (on either side). Strike 
the bag first with the right fist, then with the ball of the right 
foot; then with the left foot, following with the left fist. To 
vary the movement, use first both hands, then both feet alter- 
nately. 

Here again the muscles of the back and legs are given effective 
exercise. Care must be taken that the fists strike the bag as 
near its middle as possible. It is highly desirous that the sphe- 
roid be given as little slant in its rebounds as is consistent with 
fast work. Always make sure that the bag used in foot blows is 
well inflated. An unresponsive ball will destroy all chance of 
good results. 

PUNCHING A FLOOR BAG WITH KNEES AND HANDS. 

A movement somewhat similar to the preceding one is per- 
formed by keeping the ball (the floor ball) in motion with the 
hands and knees, instead of with the hands and feet. Place 
the feet close to, and on either side of the swivel. Stand erect 
and hit the bag with first one knee, then the other. Follow 
with using the hands alte'rnately. Vary the pastime by hitting 



8o tiow to Punch the Bag. 

the bag different numbers of times consecutively with either 
hand or either foot, before alternating in this order for instance, 
or similar to it : 

Right hand, three times; left hand, three times; left knee, 
three times; right knee, three times. 

If you choose, strike four or five consecutive blows before 
changing to the other hand or foot, instead of the three, or 
in preference to a single blow as first suggested. 



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SPALDING BOXING GtOVES 

"CHAMPIONSHIP" STYLES 







No. 118. 8- 




No. tlS "o. 116 

EXPERT- SPARRING AND FIGHTING STYLES 

N0.I8N. Spalding "Navy Special" Champion- 
ship Glove. Used by champions of the navy. 
Special "Sea Green" leather; furnished in 8-oz, 
only; padded laced wristband; patent palm lac- 
ing, patent palm grip. Set of four gloves, $6.00 

? 



Highest grade made. 
Set of four gloves, $8.00 

Set of four gloves 

Set of four gloves, 






No. 11. Corbett Pattern. Large 7-oz. model. 
,Best quality brov«i leather, substantially 
made. Padded wristband; patent palm lacing; 
patent palm grip. Set of four gloves, $6.00 

No. 9. 5-ounce Regulation. Special brown 
glove leather. Supplied in regular and large 
sizes. Padded wristband, special padded 
thumb, patent palm lacing and patent palm 
grip, . .. ., Set of four gloves, $5.00 



No. 218 No. 12 

No. 218. Spalding "Club Special" Gloves. 

8-ounce "Championship" model, full size. Good 
glove leather. Padded wrist, patent palm lac- 
ing, patent palm grip. Set of four gloves, $5.00 
No. 12. Spalding "Member Special" Gloves. 
8-ounce Corbett pattern, good size. Black glove 
leather trimmed with red leather. Padded 
wrist; special padded thumb; patent palm lac- 
ing, patent palm grip. Set of four gloves, $5.00 



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SPALDING BOXING GLOVES 

No. 110. Pupil's Double Wrist Pad. Large 

model. Best grade brown glove leather, addi- 
tionally padded on the forearm and over the 

wrist to prevent that soreness which is one of 

the most discouraging features following a brisk 

lesson in the art of "blocking." Made after the 

suggestion of one of the most prominent ath- 

lectic officials in this country. Patent palm grip 

and palm lacing. . Set of four gloves, $7.50 

No. 200. Instructor's 10-ounce. Special thumb 

model. Best grade special treated boxing glove 

leather, extra heavily padded over the knuckles 

and with, special large padded thumb to pre- 
vent injury to either instructor or pupil. The 

leather in this glove is particularly durable, and 

it does no get hard or ruff up when wet or 

subject to severe usage. Used by the instruc- 
No. no tQj'g j^ jjjQgj pf thg large gymnasiums and. 
toxing schools and by many prominent pugilists in training. Lace extra far down for venti- 
lation. Patent palm grip. Set of four gloves, $7.00 

No. 100. Same as No. 200, but of brown glove leather Set of four gloves, 7.00 

All Spalding Boxing Gloves are hair filled. No cotton or carpet flock is used. 
STYLES FOR FRIENDLY BOUTS AND PRIVATE USE 






No. 14 No. IS 

No. 14. 5-ounce Regulation. Brown glove 
leather. Special padded thumb, wrist and heel; 
patent palm lacing and palm grip. Used by 
some of the best organizations for their club 

contests Set of four gloves $4.00 

No. 15. 8-ounce Corbett Pattern. Special 
olive tanned leather; padded wristband; patent 
palm lacing; patent palm grip. The proper 
glove for friendly bouts and use at home. 

Set of four gloves, $4.50 



No. 19. 7-ounce Corbett Pattern. 

color leather. Patent palm lacing. 

Set of four gloves, $4.00 
No. 21. 8-ounce Regular Pattern. Wine 

color, with brown palm. Patent palm lacing. 

Padded cuffs. . Set of four gloves, $3.50 
No. 28. 5 -ounce Regulation Pattern. Red lea- 
ther, oak color palm; special padded thumb; 
padded wrist; patent palm lacing. Supplied in 
regular and large sizes. Set of four gloves, $3.00 



ps»" 


A.G.SPALDING & BROS. 

STORES IN ALL LARGE CITIES 


FOR COMPLETE LIST OF STORES 

SEE INSIDE FRONT COVEB 
^ OF THIS BOOK 


1 



PRICES. SUBJECT. TO CHANGE WITHOUT NOTICE. For C«.di.n price see .pedM C»n.di«. CuIq^ 



SUBSTITUTE 



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TRADE-MARK %Kf 



SPALDING BOXING GLOVES 

MEN'S PRACTICE STYLES 

No. 22. Corbett Pattern. Men's practice model. 
Brown glove leather, with wine colored leather palm; 
padded wrist; patent palm lacing. 

Set of four gloves, $3.00 
No. 23. New Style Turned End Pattern. Wine 

colored leather, with brown palm; correctly padded. 

and patent palm lacing. Set of four gloves, $2.50 
No. 23N. Black leather, padded wrist; turned 
end pattern. Comfortable and practical. Patent palm 

lacing Set of four gloves, $2.25 

No. 24K. Style of No. 23, but slightly larger and 
made with khaki palm. . Set of four gloves, $2.00 






SPALDING 
YOUTHS' BOXING GLOVES 

Spalding Youths' Boxing Gloves are made in exactly 

the same manner and of similar material to the full 

size gloves of our manufacture, and are warranted to 

give satisfaction. 

No. 45. Youths' "Championship" Glove, Corbett 
Pattern. Best quality brown glove leather and extra 
well finished. Double stitched; patent palm lacing; 
patent palm grip. . . . Set of four gloves, $3.50 
No. 40. Youths' Size, Turned End Pattern. Wine 
colored leather, well padded. Patent palm grip; 
patent palm lacing. . . Set of four gloves, $3.00 
No. 25. Youths' Size, Regular Pattern. Soft tanned 
leather, patent palm lacing. Set of four gloves, $2.00 
No. 25K. Style of No. 25, but sHghtly larger and 
made with khaki palm. . Set of four gloves, $1.50 

All Spalding Boxing Gloves are hair filled. 
No cotton or carpet flock is used. 



Spalding 
Boxing Helmet 

Complete protection for ears, nose 
and eyes. Well ventilated. 

Each, $3.50 




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ant communications 
addiTesseotous 



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STORES IN ALL LARGE CITIES 





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No. 7. Finest selected olive Napa tanned leather, 
workmanship same as "Fitzsimmons" Special 
No. 18. Double stitched, red welted seams. 
&itremely durable and lively. ... Each, $6.00 



Bladders used in all our Striking 
Bags are fully guaranteed. Note 
special explanation of guarantee 
on tag attached to each bladder. 

No. 6. Fine olive tanned leather 
cover, double stitched, red 
welted seams Extra well made 
throughout. . . Each, $5.00 



No. 5. Regulation Size, specifilly 
tanned brown glove leather cover, 
red welted seams, double stitched 
and substantially made. Each, $5.00 



Elastic Floor Attachments for all Double End Bags 
No. D. Best elastic cord. ....... EacL 35c 

No. E. Elastic cord. » * 20c 



h 



No. A'A' Regulation size, wine colored leather, double 

stitched and red welted seams Each, $4.00 

No, 4. Regulation size, tan colored leather cover, well 
made throughout, double stitched. . . . Elach, $3.50 
No. 3. Regulation size, substantial brown leather cover, 
reinforced and double stitched seams. . . . Each, $3.00 



No. iyi. Black leather regulation size, lined throughout, 

red welted seams Ejoch, $2.50 

No 2'/2. , Regulation size, good quality dark olive tanned 
leather, lined throughout, red welted seams. . Each. $2.00 
No. 2. Medium size, good colored sheepskin, lined 
throughout . .....,.,. Each, $1.50 



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SPALDING SINGLE END STRIKING BAGS 






No.JJ 



No. JJ. Speciaf training bag. Same as used by Champions both here and abroad, to get into condition for important 
contests. Leather is a special selection of brown calfskin, very smooth an J particularly durable. ... . Each, $10.00 

No. G. This is a heavy, durable gymnasium bag, suitable (or al! around exercise vrork and the strongest bag made. 
The cover is of heavy English grain leather, same as used in our best grade foot balls and basket balls and made in 
the same way. It will outlast two or three bags of any other make. With loop top Each, $9.00 

No. 19, Made of highest quality Patna kid, the lightest and strongest of leather. Sewed with linen thread, double 
stitched and red welted seams. Especially suited for exhibition work, and a very fast bag Each, $8.00 

No. 195. Same material as No. 19, but furnished with special light bladder and weighs only T/i ounces complete. The 
fastest bag made, but very strong and durable Each, $8.00 

No. 20. Made of finest selected brown 
calfskin, with olive welted seams. 
A very fast and durable bag for all 
around use Each, $7.50 

No. 20G. Model of our popular No. 
20 bag, but made of black horsehide. 
Very durable. . . . Each, $7.00 

No. 18. The "Fitzsimmons Special." 
Made of finest selected olive Napa 
tanned leather, extra well made , 
double stitched, red welted seams 
and reinforced throughout. For train- 
ing purposes particularly this bag will 
be found extremely satisfactory in 
every respect. . . . Each, $6.00 

The Bladders used in all our Striking Bags are 
fully guaranteed. 





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SPALDING SINGLE END STRIKING BAGS 

Bag punching is really a fascinating diveriion, 
capable of so many combhiations, that it is 
alike to the young boy and the 
athlete. When its healthful advan- 
tages are considered it is remarkable that there 
are not more bags in use, especially where thefe 
are boys and girls who would not otherwise take 
sufiicient exercise to keep them in good phy- 
sical condition. The same is triie of, many 
business men who really could use a punching 
bag with benefit and yeiy conveniendy, where 
in many cases sufficient outdoor exercise is 
simply impossible. 

No. 12. Olive tanned leather, specially 
selected ; double stitched, red welted 
seams and reinforced throughout. 
Excellent for quick work. Each $5.00 

No. 10. Specially tanned brown glove 
leather; double stitched, red welted 
seams and reinforced throughout. 
Very well made. . . Each, $4.00 




Our single end striking bags are made with rope attachment carefully centered, making them the most certain in action 
of any- Laces on side at top, so that the bladder may be inflated without interfering with rope. 

The Bladder* ui«d io all our Striking Bags, are fully gnwanteed. 






No. 16 



No. 155^ 



No. 17. Fine craven tanned leather, well finished ; double stitched, red welted seams, reinforced throughout; Each, $3.50 

No. 16. Extra fine tan colored leather, full size and lined throughout. • " 3.00 

No. 15;^. Black leather, full size and lined throughout; red welted seams . , . " 2.50 



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SPALDING SINGLE END STRIKING BAGS 



Our single end bags are made with rope attachment 
carefully centered, making them the most certain 
in action of any. Laces on side at top, so that the 
bladder may be inflated without interfering with rope. 
Each bag is most carefully inspected and then packed 
complete in box with bladder, lace and rope. 

No. 15. Made of olive tanned leather, full size and 
lined throughout; red welted seams. Each, $2.00 

No. 14. Good quality colored sheepskin ; lined 
throughout Each, $1.50 



STRIKING BAG BLADDERS 




No. 15 
BLADDERS 

No.G. For No. G Bag. Each, $1.75 
No. OS. For any full size top stem 

bag Each, $1.25 

No. 7. For No. 7 bag. " 1.00 
No.7P. For Nos. 20, 20a 19. I9S 

and 16 Eactvl.OO 





BLADDERS 

No.5. ForNos.6,5,4and4;^. Ea., 90c 
No. SP. For Nos. 17, 16, 12 and 10. 

Each, 90c 
No.B. For Nos. 3;^, 3, ly, and 2 

tags Each. 7Sc 

No.BP. For Nos. ^bVz. 15 and 14 

bags Each, 75c. 



SPALDING 
STRIKING BAG SWIVELS 

No. 4. A special swivel, made according to sugges- 
tions of experienced bag punchers, with features 
that overcome disadvantages of ordinary style. 
Rope can be changed instantly without interfering 
with any other part of swivel. . . Elach, $1.50 
No. 5. Nickel-plated swivel with removable socket for quickly suspending or re- 

moving bag without readjusting , . Each, 75c. Showi 

No. 12. Ball and Socket Action. Fastenspermanently to disk; nickel-plated." 25c. removable. 






>^ 



No. 2. 
No. 3. 



Top View. No.5. Under View. 
I opening Showing neck of 

for rope, which is swivel, which i> fas- 
tened permanently. 

SPALDING BRASS INFLATERS 

nches E^ch, SOc 



Club size, cylinder 10^ 
Small size. Elach, 25c. 



■mm. 



liMiHia 



SPALDING STRIKING BAG MITTS 



No. 3 



Will protect the hands and are recommended for use with all Striking Bags 
No. 1. Made of olive Napa leather and extra well padded; ventilated palm and special 

elastic wrist in glove , . , . Pair, $2.00 

No. 2. Made of soft tanned leather, properly shaped and padded, substantially put 

together Pair. $1.50 

No. 3. Made of soft tanned leather, padded and well made ; also made 

in women's size , . Pair, $1.00. 

No. 4. Knuckle Mitt, well padded " 5Qc. 

No. 5. Knuckle Mitt, well padded " 2Sc. 



No. 



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STORES IN ALL LARGE CITIES 



I FOR COMPLETE LIST OF STORES 

SEE INSIDE FRONT COVER 

OF THIS BOOK 



PRICES SUBJECT TO CHANGE WITHOUT NOTICE. For C«.di« price, see .pecUl Can«li«. CUlogu. 



Spalding 
"Moline" Disk 

Combines adjustable 
feature of our popular 
Moline Platform -with 
the practical utility of 
the solid disk. 




Spalding 
"Moline" Platform 

Adjustable in height, readily 
attached to any wall, and the 
side brackets so arranged 
that it touches three rows of 
studding. Neat in design 
and finish. Supplied with 
everything necessary for 
attaching to wall, and crated I 
ready for shipment. 
No. 1. Moline Platform. 

Each, $15,001 

Bag ia not included in above price. 



No. ID. 
Moline Ad- 
justable Disk, 
including No. 
5 style striking 
bag swivel. 
Each, $20.00 

Ba^ ia not included 
in above price. 





No. PR 

Patented April 19. 1904 



Spalding Disk Platform 

Can be put up in a very small space and taken down quickly 
when not in use by simply detaching the pipe fixture from 
the wall plate. The metal disk against which the bag strikes 
constitutes one of the best features ever incorporated in an arrangement of this 
character, rendering it almost noiseless and very quick in action. Combines an ad- 
justable feature, making it possible for various members of family to use same disk. 
No. PR. Spalding Disk Platform. Complete, with special bag. . . Each, $8.00 

No. PR. Spalding Disk Platform. Without bag " 5.00 

Unless otherwise specified on order, bag will be sent WITH platform. 



Il PROMPT ATTENTION GIVEN TO 
11 ANY COMMUNICATIONS 


A. G. SPALDING &, BROS. 

STORES IN ALL LARGE CITIES 


FOR COMPLETE LIST OF STORESjl 
SEE INSIDE FRONT COVER 1 



PRICES SUBJECT TO CHANGE WITHOUT NOTICE. F«,r Canadian price, see q>«c»l Canadiaa Culofu. 




BiESIl 




Spalding Striking Bag Disks 



A striking bag disk must be substantial if it is to be of 
use, and in the two styles, both adjustable and braced, 
which w^e list, this feature has not been neglected, while 
we have striven to put out a disk vs^hich is suitable for 
home use and moderate in prices. 



No. FR 



o. CR. Patent adjustable style. Complete, 
^vithout hag Each, $8.00 

o. FR. Wall braced style. Complete, ivith- 
out bag Each, $5.50 




No. CR 

Patented 
June 30, 1903 



<o. 82F 



Spalding Adjustable Floor Disk 

This style is what is generally called a 
"Floor Disk," because the heavy japan- 
ned pipe uprights and the steel guys are 
attached to the floor, but this one is 
superior to any similar style now on the 
market in that it combines with absolute 
rigidity the adjustable features so neces- 
sary in an article that is for home use, 
to make it suitable for various members 
of the family. Capable of three adjust- 
ments of two inches each or a total of 
6 inches. Floor space required: 9 feet 
by 6 feet; height, 7 feet. Uprights placed 
6 feet apart, allow^ing plenty of foot room. 

No. 82F. Spalding Adjustable Floor Disk, w^ithout bag or bag 
swivel Each, $25.00 




PROMPT ATTENTION GIVEN TO 
m COMMUNICATIONS 


A.G.SPALDING & BROS. 

STORES IN ALL LARGE CITIES 


FOR COMPLETE LIST OF STORES 

SEE INSIDE FRONT COVER 

OF THIS BOOK 



PRICES SUBJECT TO CHANGE WITHOUT NOTICE. For Canadian price, see .pedal 



Catalogue 



Kt(j?eTHE SPALDING 



TRADE-MARK ^rAfir 




No. 18 

Correct 

Shoe* for 

Boxing 




SPALDING 
BASKET BALL SHOES 



No. AB. High cut. 
drab leather, Bluchc 
cut; heavy red rub- 
ber suction soles, 
superior quality. 

Pair. $6.00 

No.BBL. Women's. 
Highcut,light; black 
leather, good quality 
red rubber suction 
soles. Pair, $5.00 



SPALDING GYMNASIUM SHOES 

No. 15. High cut. 
kangaroo uppers, 
genuine elkskin 
soles. Will not slip 
on floor; extra light. 
The correct shoes 
to wear for boxing. 
Pair. $6.00 
No. 155. High cut, 
elkskin soles, and 
will not slip on floor; 
soft and flexible. 

Pair, $5.00 
No. 166. Low cut. 
selected leather, ex- 
tra light and electric 
soles, men's sizes 
only. Pair, $4.90 
No. 66L. Women's. 
Low cut. extra light, 
selected leather up- 
pers. Electric soles. 
Pair. $4.00 
No. 21. High cut. 
black leath er. electric 
soles. Sewed and 
turned, which makes 

shoes extremely 

light and flexible. 

Pair, $3.25 

No. 20. Low cut. 

Otherwise as No.21 . 

Sewed and turned 

shoes. Pair, $2.50 

N0.2OL. Women's. 

Otherwise as No.20. 

Sewed and turned 

shoes. Pair. $2.50 







PROMPT AHENTION GIVEN TO 
ANY COMMUNICATIONS. 
■ ADDBESSEOTOIIS.- 



A.G.SPALDING &, BROS. 

STORES IN ALL LARGE CITIES 



[FOR COMPLETE IISTOF STORES 

2S INSIDE FRONtCOVER 

flF THIS 8001 



g4d ft «fte» mS*l9t6, S«dif«el fe^4B«|«Stetf naa»TfJ»C<nw<««w ptktt nt sptc^CanadfmCatahgv^ 



STANDARD QUALITY 

Cher .ricka. considerable n^oney is e'xpended in rn.lJJT.T^ecrlheZZ Bu elVoT'l^^eru'^uLTrhrLT^.^i 
u.Si:^::rt;ts^:^T^:'^S:r:^''''' n,isrep,eaenta.io„ and ".nfe.or .uali.y" rests entirely upon th.' 

^' xl' "9°°^ '• '!• ''L^'!'°^^' ^' °^.^'°"' ^' •« 'K« "««ssity of the Government in maintaining a Standard Cu™„ . 



Standard Quality and preventmg fraudulent substitution „... „^ ........rciui.. 

We know from experience that there is no quicksand more unstable ^^^ V^ -> - 

than poverty m quahty-and we avoid this quicksand by Standard Quality. W^^?^^&S^J^«^^^^^^ 



STANDARD POLICY 

A Standard Qualitj^ must be inseparably linked to a Standard Policy, _ _ 

To market hi,"l^T^rK'^"'^?.'i'^"tr'''^ ^°'''^'r'' '' ''"P°«^'l''« f°^ ^ Manufacturer to long maintain a Standard Quality: 
deale? Tn ^.1 T J v^ '^1 {^^^"o * J"3""fa<:'"rer must provide a profit for the jobber a. well a. for thi letaa 

hfa go^ds toThe cln^me"? '°"' "^ ^"'' ^'"''''' '»^«;--"f-'"r« - obliged to set a proportionately high list pric « 

^^..IV"KV^'*"'^'''' ^'^'"u'"^"' T*^*" booking his orders, to figure out attractive profits to both the jobber and retailer 
these high list prices are absolute v essent a • hut fK»;r v»^l _ ...:ii l...- 4..!: j _ t -J"""" »"« icwiier. 



JX tl , ^ salesman, when booking his orders, to figure out attractive profits to both the jobber 
.., Tk ^''TT "<= absolutely essential; but their real purpose will have been served when tb^ ro^u 
:ured his order from the jobber, and the jobber has secured his order from the retailer. 

expSri^irplyXstfrylst'^ricS ''""' ^''^ T ^"' '" ^' ""'"'"^'' "**** '^'"'^ «<>,. and. .„ reaUty. i. no. ev« 

beg!^a^L\eallznirre!L'n,\T';'''^ "^^ °^ T^ ^°u^l' ^''^ '^^'^ -'^l-fing »>"' «"""ng »»gl» l»t pnces. the retaile. 
S wi^h loctrtrade cTduil • '"^ ^'^P^^'' Z''^ '^<^ -'-«- « beat he can. by offering "special discount.," which 
no Sl> '*"'' ^yf ^"^ ,°? merchandising, the profits to both the manufacturer and the jobber are aasured": but as there J 
der^oraltTcuu n" n"v^' r'"u'l"l'= consumer, the keen competition amongst tl!e local dealers invariab y leadTw. 
detnoralized cut ing of pricea by which the profits of the retailer are practically eliminated. 4 

manufacr„rr?n k-lT * ^^^^ '^^9^" 'H I"^""^'^'"^^'"- ^be Jobber insists on lower, and still lower, price.. Th. 
ZTJ:Sroi''LXu"^I^'ir^^^^ '"' •'•= '°-"'"^ °^ ''"«» '^ '»^'' only way open to him. vi.: the^cheapcS; 

this^d^emoraWion°iSh'^ A.KlTT ""^ ''%°^T^^^ 'bat.H 7 years ago. in 1899. A. G. Spalding & Bros, determined to rectify 
tnis demoralization in the Athletic Goods Trade, and inaugurated what has since become known as "The Spalding PoUcy " 

sec Jres the'^suo'olv o^ ^n^Idt"" A?M',-'^y °^''^!i*="'"f 'y- '\^" ^' S?^'^'"8 G"*"^' -'" concerned, and the S delL 
U^iii^.lT.y^L- ^Pa'i'"g A'bkt.c Goods direct from the manufacturer by which the retail dealer is assured m fair 

p'oteri f^ot imSion™^' "" '" ^"'^^""^ '"*''*^"'= ^""'^^ *"^ '^'^ "=°"'""'«' '» """-"^ « Standard Quality ^.^ 

The "Spalding Policy" is decidedly for the interest and protectiton of the users of Athletic Good* and act. in two wayai 

Ur-nrin^S "*"^" awured of genuine Official Standard AdiletJc Cooi. 

discrimfn^atlot'atntte^d rol^onT" °' ^"''''"^ '""""= ^-'^'•J^-««* «-'«^ ''l*'^. -«^ - •P-'J rcb^^ «, 
be Sefinitdfcontlnuel''"''''"^ Policy," which has already been u, successful operation for the p.* ^7 y««* ««l W» 
b oth<5r word* "The Spalding PoLcy" i."T^-Tq7are deal" for everybody. 

^A. 6. SPALDING * BROS^ 



LIBRARY OF CONGRESS 



I Ja 

"006 "ewT'eeiB n i 

ATHI/BTIC I/IBRARY 



A separate booK covers every Athletic Sport 

and is Official arvd Standard 

Price JO cents ea ch 




iE^ajj/, 



^^ Spalding p.^ 

T.LOUIS. 19 04 >^-^ >H^.r-..^»^--^ 

ATHLETIC GOODS 



]MmsmaMM 



A. G. SPALDING ^ BROS 



MAINTAIN WHOLESALE end RElAiL . 

NEW YORK CHICAGO 

BOSTON MlLWALlKr.I 

PHILADELPHIA DETROIT 

NEWARK CIS CI N I 



,T. LOUIS 
KANSAS CITY 
SAN FRAN'CISCO 
M LOS ANGCLE 



A L B A N V 

BUFFALO 
SYRACUSL 



LVLLAND SEATTLE 
OLUMBUS SALT LAKECITY 

INDIANAPOLIS PORTLAND 
PITTSBURGH MINNEAPOLIS 



BALTIMORE WASHINGTON 
LONDON. ENGLAND 

LIVERPOOL. ENGLAND 

, I RNINGHAM. ENGLAND 
MANCHESTER. ENGLAND 
FPiNBURGH. SCOTLAND 
GLASGOW. SCOTLAND 



ST PAUL 



LOUISVILLE DENVER 
NEW ORLEANS DALLAS 
MONTREAL. CANADA 
TORONTO. CANADA 
PARIS. FRANCE 
SYDNEY. AUSTRALIA 






